waterloo sunset, Itchycoo Park,Blackfriars bar - YouTube waterloo sunset, Itchycoo Park,Blackfriars bar Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Jun 22, 2015 "Waterloo Sunset" is a song by British rock band The Kinks. It was released as a single in 1967, and featured on their album Something Else by The Kinks. Composed and produced by Kinks frontman Ray Davies, "Waterloo Sunset" is one of the band's best known and most acclaimed songs in most territories. It is also their first single that is available in true stereo. The record reached number 2 on the British charts in mid 1967 (it failed to dislodge the Tremeloes' "Silence Is Golden" from the number 1 position). It was also a top 10 hit in Australia, New Zealand and most of Europe.

In North America, "Waterloo Sunset" was released as a single but was not a hit, as it failed to chart. The lyrics describe a solitary narrator watching (or imagining) two lovers passing over a bridge, with the melancholic observer reflecting on the couple, the Thames, and Waterloo Station.The song was rumoured to have been inspired by the romance between two British celebrities of the time, actors Terence Stamp and Julie Christie stars of 1967s Far from the Madding Crowd. Ray Davies denied this in his autobiography and claimed in a 2008 interview, "It was a fantasy about my sister going off with her boyfriend to a new world and they were going to emigrate and go to another country." In a 2010 interview with Kinks biographer Nick Hasted he said Terry was his nephew Terry Davies, "who he was perhaps closer to than his real brother in early adolescence." Despite its complex arrangement, the sessions for "Waterloo Sunset" lasted a mere ten hours;[8] Dave Davies later commented on the recording: "We spent a lot of time trying to get a different guitar sound, to get a more unique feel for the record.

In the end we used a tape-delay echo, but it sounded new because nobody had done it since the 1950s. I remember Steve Marriott of the Small Faces came up and asked me how we'd got that sound. We were almost trendy for a while."[9] The single was one of the group's biggest UK successes, reaching number two on Melody Maker's chart and went on to become one of their most popular and best-known. Davies considered the song a professional milestone, where he managed to blend the commercial demands of a hit single with his own highly personal style of narrative songwriting. The elaborate production was the first Kinks recording produced solely by Davies, without longtime producer Shel Talmy. In subsequent arguments with Kinks management over the direction of the band, Davies would say "I've done 'Waterloo Sunset', now I want to do something else". In 2010 Ray Davies stated the song was originally entitled 'Liverpool Sunset'. In an interview with the Liverpool Echo he explained 'Liverpool is my favourite city, and the song was originally called Liverpool Sunset. I was inspired by Merseybeat. I'd fallen in love with Liverpool by that point. On every tour, that was the best reception.

We played The Cavern, all those old places, and I couldn't get enough of it. I had a load of mates in bands up there, and that sound – not The Beatles but Merseybeat – that was unbelievable. It used to inspire me every time. So I wrote Liverpool Sunset. Later it got changed to Waterloo Sunset, but there's still that play on words with Waterloo. London was home, I'd grown up there, but I like to think I could be an adopted Scouser. My heart is definitely there.' The song derives from the period 1965-73 when Ray Davies lived at 87 Fortis Green, the semi-detached suburban home where almost all his songs were written at this period. "I didn't think to make it about Waterloo, initially", Davies said in a 2010 interview, "but I realised the place was so very significant in my life. I was in St Thomas' Hospital when I was really ill [when he had a tracheotomy aged 13 and the nurses would wheel me out on the balcony to look at the river. It was also about being taken down to the 1951 Festival of Britain.

It's about the two characters - and the aspirations of my sisters' generation who grew up during the Second World War. It's about the world I wanted them to have. That, and then walking by the Thames with my first wife and all the dreams that we had." Davies' first wife was Rasa Didzpetris, the mother of his first two daughters. They divorced in 1973. in 1985 Ray Davies released an album entitled Return to Waterloo, a soundtrack for the movie of the same name. The song and accompanying video seemed to reference the struggles an aging person has returning to the world of their youth, with the narrator wondering "Will I get away/will I see it through/On the return to Waterloo." Davies also wrote a collection of short stories called "Waterloo Sunset" which revolve around an aged rock star called Les Mulligan and a cynical promoter planning his comeback. All stories are named after Kinks/Ray Davies songs Category Almost Hits: The Kinks, "Waterloo Sunset" (1967) | Something Else!

Almost Hits: The Kinks, “Waterloo Sunset” (1967) I would’ve thought there was enough of a melancholic beauty and universal appeal to the 1967 Kinks’ classic “Waterloo Sunset” that it would have transcended any Anglocentric provincialism, enough at least to have broken through to the Billboard Hot 100 to match the Top 10 ranks it reached in charts in the U.K., Australia, New Zealand and most of Europe. But, nope: It not only dodged a “bullet,” but a fickle record-buying public — the same ones who could seemingly handle references to “four of fish and finger pies” (“Penny Lane”), and the “the Carnabetian Army” cited in even the Kink’s early Top 40 hit “Dedicated Follower of Fashion” — left it bubbling under the Bubbling Under Hot 100 Singles for good. Though I seem to remember Top 40 radio in Los Angeles playing it a decent number of times — even during this time when the Kinks were banned from touring the U.S. for reasons best left hazy — the ultimate fact that it didn’t chart in the U.S.

was curiouser to me, who was in grade school at the time. But what did I know? I could be a bit of a Keds-gazing gloomy gus — I even liked Pet Sounds! — who readily responded to “Sunset’s” scene-setting evocation: “Dirty old river, must you keep rolling, flowing into the night; people so busy, makes me feel dizzy; taxi light shines so bright.” Sounds pretty chaotic, especially with “millions of people swarming like flies ‘round Waterloo Underground” — and “chilly, chilly is the evening time” — but reprieve and contentment comes from staying indoors and looking out the window, taking in all that a thousand mile stare can survey.

After all, “as long as I gaze on Waterloo sunset, I am in paradise.” This fits in with Ray Davies’ remembrance of himself — as revealed in the storytelling tour for his “Unauthorized Autobiography” X-Ray — as a “bit of a homebody” growing up, “preferring to stay in while his siblings ventured out into the big city, content to gaze at the sunset from his boyhood home on a hill that overlooked the Waterloo Underground Station.” Siblings come into play soon enough in the song, recalling a 2008 interview in which Davies explains that “Waterloo Sunset” was “a fantasy about my sister going off with her boyfriend to a new world and they were going to emigrate and go to another country”: Terry meets Julie, Waterloo station Every Friday night But I am so lazy, don’t want to wander I stay at home at night. But I don’t feel afraid As long as I gaze on Waterloo sunset I am in paradise. “Waterloo Sunset’s” more than fine, of course, matters of commercialism aside. The could’ve-been contender and pop confection hit upon such accessible themes and moods as solitude and wistful nostalgia, while set to an irresistibly aching melody.

Indeed, rock critic Robert Christgau has called the song “the most beautiful song in the English language,” while the Who’s Pete Townshend has called it “divine” and “a masterpiece.” Rolling Stone places it No. 42 on its list of the 500 Greatest Songs of All Time, and Pitchfork Media names it the 29th best song of the 1960s. But for those who still bemoan its lack of Billboard recognition, you may want to keep in mind that “Waterloo Sunset” was indeed an American hit of sorts, shorn of all those perceived Brit-centric encumbrances but reaching No. 1 on the Billboard Hot 100 in 1975. Okay, so it was called “Laughter in the Rain,” by Neil Sedaka, but still — if you just imagine, you are in vicarious paradise for a few minutes.

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Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Nov 7, 2012 "Waterloo Sunset" is a song by British rock band The Kinks. It was released as a single in 1967, and featured on their album Something Else by The Kinks. Composed and produced by Kinks frontman Ray Davies, "Waterloo Sunset" is one of the band's best known and most acclaimed songs in most territories, having been a #2 hit in the UK, and a top 10 hit in Australia and New Zealand and most of Europe. Courtesy Wikepedia. Kinks - Waterloo Sunset - 1967 - Music Videos,Lyrics Kinks - Waterloo Sunset - 1967 Lyrics Help preserve America's Music Tradition and suggest your lyrics here. Kinks - Waterloo Sunset - 1967 Pause Some trivia about Kinks - Waterloo Sunset - 1967 "Waterloo Sunset" is a song by British rock band The Kinks.

It was released as a single in 1967, and featured on their album Something Else by The Kinks. Composed and produced by Kinks frontman Ray Davies, "Waterloo Sunset" is one of the band's best known and most acclaimed songs in most territories, having been a #2 hit in the UK, and a top 10 hit in Australia and New Zealand and most of Europe. [1] Play time: 3:23 FACEBOOK - CLICK HERE to see our top picks of the day on our music group on Facebook! To post this song into Facebook...just copy the URL and past it into the Facebook comment field More Kinks Free Music Videos and songs To Listen and watch Artist Kinks album music videos... Just click on the song title links that you see below, to play. Your Free Music Videos Playlist By default, we play all of our songs randomly selected from our playlist; however, you can choose the songs you want played by selecting all or some songs below and adding them to your playlist. You can also browse all songs and update your playlist at View/Edit Your Playlist . Step 1: Select your Free Music Videos. Step 2: click on 'Add Selections' button to update your list.

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It was composed and produced by The Kinks lead singer and songwriter Ray Davies and is one of the band's best known and most acclaimed songs. The lyrics are from the point of view of a solitary man on the south bank of the Thames watching (or imagining) the romantic encounters of a couple at Waterloo… read more Similar Tracks Waterloo Sunset - The Kinks | Sheeto.com Waterloo Sunset - The Kinks 7 members have this sheet 1 member wants it original pdf Waterloo Sunset" is a song released as a single by The Kinks in 1967, and featured on their album Something Else by the Kinks. It was composed and produced by The Kinks lead singer and songwriter Ray Davies and is one of the band's best known and most acclaimed songs. The lyrics are from the point of view of a solitary man on the south bank of the Thames watching (or imagining) the romantic encounters of a couple at Waterloo Underground, then crossing Waterloo Bridge. Read more Davies, in his 1996 autobiography X-Ray, says the inspiration for the song came from an incident when he was hospitalized as a boy.

On the BBC radio show The Davies Diaries, Davies stated that "I can't tell you who they are because they're good friends of mine". In a 2008 interview with Spinner Magazine, Davies stated "it was a fantasy about my sister going off with her boyfriend to a new world and they were going to emigrate and go to another country." The couple - "Terry" and "Julie" - mentioned in the lyrics are widely reported and presumed[1][2] as being British film stars of the time Terence Stamp and Julie Christie but Davies, in a 2004 interview, denied this, saying: "No, Terry and Julie were real people. I couldn't write for stars."[3] The recording features Davies' first wife Rasa on background vocals. “When the record was finished and it was coming out", Ray Davies remembered, “I got my wife Rasa to drive me down to Waterloo Bridge to see if the atmosphere was right… I’ve never worked with a song that has been a total pleasure from beginning to end like that one”.

The record reached number 2 on the British charts in mid 1967 (it failed to dislodge the Beatles' "All You Need Is Love" from the number 1 position). Davies considered the song a professional milestone, where he managed to blend the commercial demands of a hit single with his own highly personal style of narrative songwriting. The elaborate production was the first Kinks recording produced solely by Davies, without longtime producer Shel Talmy. In subsequent arguments with Kinks management over the direction of the band, Davies would say "I've done 'Waterloo Sunset', now I want to do something else". A London FM radio poll in 2004 named this the "Greatest Song About London", while Time Out named it the "Anthem of London". It holds spot #42 on List of Rolling Stone's 500 Greatest Songs of All Time. Paul Weller and Damon Albarn cite the song as their favourite of all-time. Ray Davies included the song in his live set at Camden's The Roundhouse for the BBC Electric Proms in October 2007, featuring the Crouch End Festival Chorus.

Influential pop music journalist Robert Christgau has called the song "the most beautiful song in the English language." [4] Pete Townshend of The Who has called it "divine" and "a masterpiece".[5] Allmusic senior editor Stephen Thomas Erlewine concurred, citing it as "possibly the most beautiful song of the rock and roll era." User-contributed text is available under the Creative Commons By-SA License and may also be available under the GNU FDL. People who play this song, also play The Kinks | Biography & History | AllMusic google+ Artist Biography by Stephen Thomas Erlewine Although they weren't as boldly innovative as the Beatles or as popular as the Rolling Stones or the Who , the Kinks were one of the most influential bands of the British Invasion. Like most bands of their era, the Kinks began as an R&B/blues outfit. Within four years, the band had become the most staunchly English of all their contemporaries, drawing heavily from British music hall and traditional pop, as well as incorporating elements of country, folk, and blues.

Throughout their long, varied career, the core of the Kinks remained Ray (born June 21, 1944) and Dave Davies (born February 3, 1947), who were born and raised in Muswell Hill, London. In their teens, the brothers began playing skiffle and rock & roll. Soon, the brothers recruited a schoolmate of Ray 's, Peter Quaife , to play with them; like the Davies brothers, Quaife played guitar, but he switched to bass. By the summer of 1963, the group had decided to call itself the Ravens and had recruited a new drummer, Mickey Willet . Eventually, their demo tape reached Shel Talmy , an American record producer who was under contract to Pye Records. Talmy helped the band land a contract with Pye in 1964. Before signing to the label, the Ravens replaced drummer Willet with Mick Avory . The Ravens recorded their debut single, a cover of Little Richard 's "Long Tall Sally," in January 1964. Before the single was released, the group changed their name to the Kinks .

"Long Tall Sally" was released in February of 1964 and it failed to chart, as did their second single, "You Still Want Me." The band's third single, "You Really Got Me," was much noisier and dynamic, featuring a savage, fuzz-toned two-chord riff and a frenzied solo from Dave Davies . Not only was the final version the blueprint for the Kinks ' early sound, but scores of groups used the heavy, power chords as a foundation. "You Really Got Me" reached number one within a month of its release; released on Reprise in the U.S., the single climbed into the Top Ten. "All Day and All of the Night," the group's fourth single, was released late in 1964 and it rose all the way to number two; in America, it hit number seven. During this time, the band also produced two full-length albums and several EPs. Not only was the group recording at a breakneck pace, they were touring relentlessly, as well, which caused much tension within the band. At the conclusion of their summer 1965 American tour, the Kinks were banned from re-entering the United States by the American government for unspecified reasons.

For four years, the Kinks were prohibited from returning to the U.S., which not only meant that the group was deprived of the world's largest music market, but that they were effectively cut off from the musical and social upheavals of the late '60s. Consequently, Ray Davies ' songwriting grew more introspective and nostalgic, relying more on overtly English musical influences such as music hall, country, and English folk, than the rest of his British contemporaries. The Kinks' next album, The Kink Kontroversy , demonstrated the progression in Davies ' songwriting. "Sunny Afternoon" was one of Davies ' wry social satires and the song was the biggest hit of the summer of 1966 in the U.K., reaching number one. "Sunny Afternoon" was a teaser for the band's great leap forward, Face to Face , a record that featured a vast array of musical styles. In May of 1967, they returned with "Waterloo Sunset," a ballad that reached number two in the U.K. in the spring of 1967.

Released in the fall of 1967, Something Else by the Kinks continued the progressions of Face to Face . Despite the Kinks ' musical growth, their chart performance was beginning to stagnate. Following the lackluster performance of Something Else , the Kinks rushed out a new single, "Autumn Almanac," which became another big U.K. hit for the band. Released in the spring of 1968, the Kinks' "Wonderboy" was the band's first single not to crack the Top Ten since "You Really Got Me." They recovered somewhat with "Days," but the band's commercial decline was evident by the lack of success of their next LP. Released in the fall of 1968, The Village Green Preservation Society was the culmination of Ray Davies ' increasingly nostalgic tendencies. While the album was unsuccessful, it was well received by critics, particularly in the U.S. Peter Quaife soon grew tired of the band's lack of success, and he left the band by the end of the year, being replaced by John Dalton . In early 1969, the American ban upon the Kinks was lifted, leaving the band free to tour the U.S.

for the first time in four years. Before they began the tour, the Kinks released Arthur (or the Decline and Fall of the British Empire) . Like its two predecessors, Arthur contained distinctly British lyrical and musical themes, but it was a modest success. As they were recording the follow-up to Arthur , the Kinks expanded their lineup to include keyboardist John Gosling . The first appearance of Gosling on a Kinks record was "Lola." Featuring a harder rock foundation than their last few singles, "Lola" was a Top Ten hit in both the U.K. and the U.S. Released in the fall of 1970, Lola vs. the Powerman and the Money-Go-Round, Part One was their most successful record since the mid-'60s in both the U.S. and U.K., helping the band become concert favorites in the U.S. The band's contract with Pye/Reprise expired in early 1971, leaving the Kinks free to pursue a new record contract. By the end of 1971, the Kinks had secured a five-album deal with RCA Records, which brought them a million dollar advance.

Released in late 1971, Muswell Hillbillies , the group's first album for RCA, marked a return to the nostalgia of the Kinks ' late-'60s albums, only with more pronounced country and music hall influences. The album failed to be the commercial blockbuster RCA had hoped for. A few months after the release of Muswell Hillbillies , Reprise released a double-album compilation called The Kink Kronikles , which outsold their RCA debut. Everybody's in Showbiz (1973), a double-record set consisting of one album of studio tracks and another of live material, was a disappointment in the U.K., although the album was more successful in the U.S. In 1973, Ray Davies composed a full-blown rock opera called Preservation . When the first installment of the opera finally appeared in late 1973, it was harshly criticized and given a cold reception from the public. Act 2 appeared in the summer of 1974; the sequel received worse treatment than its predecessor.

Davies began another musical, Starmaker, for the BBC; the project eventually metamorphosed into Soap Opera , which was released in the spring of 1975. Despite poor reviews, Soap Opera was a more commercially successful record than its predecessor. In 1976, the Kinks recorded Davies ' third straight rock opera, Schoolboys in Disgrace , which rocked harder than any album they released on RCA. During 1976, the Kinks left RCA and signed with Arista Records. On Arista, the band refashioned themselves as a hard rock band. Bassist John Dalton left the group near the completion of their debut Arista album; he was replaced by Andy Pyle . Sleepwalker , the Kinks ' first album for Arista, became a major hit in the U.S. As the band was completing the follow-up to Sleepwalker , Pyle left the group and was replaced by the returning Dalton . Misfits , the band's second Arista album, was also a U.S. success. After a British tour, Dalton left the band again, along with keyboardist John Gosling ; bassist Jim Rodford and keyboardist Gordon Edwards filled the vacancies.

Soon, the band was playing arenas in the United States. Even though punk rockers like the Jam and the Pretenders were covering Kinks songs in the late '70s, the group was becoming more blatantly commercial with each release, culminating in the heavy rock of Low Budget (1979), which became the group's biggest American success, peaking at number 11. The Kinks' next album, Give the People What They Want , appeared in late 1981; the record peaked at number 15 and went gold. For most of 1982, the band was on tour. In spring of 1983, "Come Dancing" became the group's biggest American hit since "Tired of Waiting for You," thanks to the video's repeated exposure on MTV; in the U.S., the song peaked at number six, in the U.K. it climbed to number 12. State of Confusion followed the release of "Come Dancing," and it was another success, peaking at number 12 in the U.S. For the remainder of 1983, Ray Davies worked on a film project, Return to Waterloo, which caused considerable tension between himself and his brother.

Instead of breaking up, the Kinks merely reshuffled their lineup, but there was a major casualty: Mick Avory , the band's drummer for 20 years, was fired and replaced by Bob Henrit . As Ray finished post-production duties on Return to Waterloo, he wrote the next Kinks album, Word of Mouth . Released in late 1984, the album was similar in tone to the last few Kinks records, but it was a commercial disappointment and began a period of decline for the band; they never released another record that cracked the Top 40. Word of Mouth was the last album they would record for Arista Records. In early 1986, the band signed with MCA Records in the U.S., London in the U.K. Think Visual , their first album for their new label, was released in late 1986. It was a mild success but there were no hit singles from the record. The following year, the Kinks released another live album, appropriately titled The Road , which spent a brief time on the charts. Two years later, the Kinks released their last studio record for MCA, UK Jive .

During 1989, keyboardist Ian Gibbons left the band. The Kinks were inducted into the Rock & Roll Hall of Fame in 1990, but the induction did not help revive their career. In 1991, a compilation of their MCA records, Lost & Found (1986-1989) , appeared, signalling that their contract with the label had expired. Later in the year, the band signed with Columbia Records and released an EP called Did Ya , which didn't chart. The Kinks' first album for Columbia, Phobia , arrived in 1993 to fair reviews but poor sales. By this time, only Ray and Dave Davies remained from the original lineup. In 1994, the band was dropped from Columbia Records, leaving the group to release the live To the Bone on an independent label in the U.K.; the band was left without a record label in the U.S. Despite a lack of commercial success, the band's public profile began to rise in 1995, as the group was hailed as an influence on several of the most popular British bands of the decade, including Blur and Oasis .

Ray Davies was soon on popular television shows again, acting as these band's godfather and promoting his autobiography, X-Ray, which was published in early 1995 in the U.K. Dave Davies ' autobiography, Kink, was published in the spring of 1996. The Kinks: 10 greatest songs - Telegraph Music news The Kinks: 10 greatest songs As The Kinks musical Sunny Afternoon wins four Olivier Awards, here are the 10 best songs from The Kinks 'Rightfully celebrated': The Kinks in 1964 Photo: REVOR WATSON / Rex Features By Telegraph Reporters 3:25PM BST 13 Apr 2015 1. Waterloo Sunset (1967) The Kinks' beautifully reflective, bittersweet hit Waterloo Sunset is rumoured to be based on the relationship between Terence Stamp and Julie Christie (partly due to the lyrics "Terry meets Julie, Waterloo Station, every Friday night").

In fact, Ray Davies claimed the song was originally called Liverpool Sunset in homage to his warm memories of live shows there, but the title was changed to make the song specifically about the time that Davies spent in St Thomas' Hospital when he had a tracheotomy at 13, and the aspirations of the generation that grew up after the Second World War. Charlotte Runcie 2. Apeman (1970) Ray Davies reveals plans for Kinks opera 24 Feb 2015 Ostensibly a satire on hippy culture, Apeman caused a small uproar when the album Lola versus Powerman and the Moneygoround Part One was released. In the line "the air pollution is fogging up my eyes", the word "fogging" was misheard by many as something far ruder, and Ray Davies was forced to fly back to London to re-dub the audio for the release of the single. Although the reggae-infused piano on the track is still delicious more than 40 years later, the combination of Ray Davies's faux-Caribbean accent and his "apeman" references are not exactly politically correct these days. CR 3.

You Really Got Me (1964) This single is the song that launched The Kinks' career . After two previous efforts which failed to chart, Ray Davies and co were under pressure from their record label to make a hit – and how they delivered. From the opening chord, this accelerates into a looping riot of frenzied joy. Such is its influence, Rolling Stone magazine rated You Really Got Me the fourth greatest guitar song of all time. Rupert Hawksley 4. Autumn Almanac Though this 1967 single never made it onto an album, it is nonetheless considered a Kinks classic. Somewhat bizarrely, Ray Davies claimed in his autobiography that the song was inspired by a hunch-backed gardener. Whether or not this is true, the song is certainly wacky – "Oh, my poor rheumatic back / Yes, yes, yes, it's my autumn almanac" – and represents a shift away from the band's harder rock to a more whimsical and psychedelic sound. RH 5. Dedicated Follower of Fashion (1966) If this song was written in the Noughties it would have been taking shots at hipsters and instagram.

But in the Sixties, fashion, boutiques and swinging London were part of the new cool youth culture – and attracted men for the first time. "He thinks he is a flower to be looked at/And when he pulls his frilly nylon panties right up tight/He feels a dedicated follower of fashion," sang Ray Davies, satirising the whole trendy lot of 'em. Catherine Gee 6. A Well Respected Man (1965) The upper and middle classes also came under fire from Davies, as he issued a biting commentary on the well-to-do gentleman. Going to work at nine, taking the same train, waiting for his inheritance, playing on stocks and shares... it all sounds as familiar today as it did then. CG 7. Where Have All the Good Times Gone (1966) Covered by both David Bowie and Van Halen, this song rose above its status as the B-side to Till the End of the Day. Its mood contrasts significantly to its upbeat, carefree single-mate. Its nostalgic, bittersweet theme of lost times ("Let it be like yesterday/Please let me have happy days") can be interpreted as a comment on fame and the band's propensity for arguments. CG 8.

Dead End Street (1966) The Kinks captured a sense of utter resignation in their song Dead End Street, with the horn-driven elements clashing with the dispiriting lyrics about poverty "There's a crack up in the ceiling, And the kitchen sink is leaking / Out of work and got no money, A Sunday joint of bread and honey." A great but gloomy song ("What are we living for?"), it went to number five in the UK but never even reached the top 50 in America. Martin Chilton 9. Sunny Afternoon (1966) The laconic gem from Ray Davies. Why worry, even if the taxman has taken all your money. The song by The Kinks was the chart-topper in the week England won the World Cup in 1966. Now there's a sunny afternoon to celebrate. MC 10. All Day and All of the Night (1964) Has romance ever sounded so cool? This raw punch of guitar and drums masks a heartfelt sentiment of 24/7 adoration - although it's probably fuelled by lust, rather than by love.

The Kinks' second smash hit after You Really Got Me reached number two in the UK charts and the American Top 10. The song's guitar solo was long attributed to Jimmy Page, but it was actually Dave Davies's creation. Alice Vincent The Kinks — Listen for free on Spotify The Kinks Play on Spotify Although they weren't as boldly innovative as the Beatles or as popular as the Rolling Stones or the Who , the Kinks were one of the most influential bands of the British Invasion. Like most bands of their era, the Kinks began as an R&B/blues outfit. Within four years, the band had become the most staunchly English of all their contemporaries, drawing heavily from British music hall and traditional pop, as well as incorporating elements of country, folk, and blues. Throughout their long, varied career, the core of the Kinks remained Ray (born June 21, 1944) and Dave Davies (born February 3, 1947), who were born and raised in Muswell Hill, London. In their teens, the brothers began playing skiffle and rock & roll.

Soon, the brothers recruited a schoolmate of Ray 's, Peter Quaife, to play with them; like the Davies brothers, Quaife played guitar, but he switched to bass. By the summer of 1963, the group had decided to call itself the Ravens and had recruited a new drummer, Mickey Willet. Eventually, their demo tape reached Shel Talmy, an American record producer who was under contract to Pye Records. Talmy helped the band land a contract with Pye in 1964. Before signing to the label, the Ravens replaced drummer Willet with Mick Avory. The Ravens recorded their debut single, a cover of Little Richard 's "Long Tall Sally," in January 1964. Before the single was released, the group changed their name to the Kinks. "Long Tall Sally" was released in February of 1964 and it failed to chart, as did their second single, "You Still Want Me." The band's third single, "You Really Got Me," was much noisier and dynamic, featuring a savage, fuzz-toned two-chord riff and a frenzied solo from Dave Davies .

Not only was the final version the blueprint for the Kinks' early sound, but scores of groups used the heavy, power chords as a foundation. "You Really Got Me" reached number one within a month of its release; released on Reprise in the U.S., the single climbed into the Top Ten. "All Day and All of the Night," the group's fourth single, was released late in 1964 and it rose all the way to number two; in America, it hit number seven. During this time, the band also produced two full-length albums and several EPs. Not only was the group recording at a breakneck pace, they were touring relentlessly, as well, which caused much tension within the band. At the conclusion of their summer 1965 American tour, the Kinks were banned from re-entering the United States by the American government for unspecified reasons. For four years, the Kinks were prohibited from returning to the U.S., which not only meant that the group was deprived of the world's largest music market, but that they were effectively cut off from the musical and social upheavals of the late '60s.

Consequently, Ray Davies ' songwriting grew more introspective and nostalgic, relying more on overtly English musical influences such as music hall, country, and English folk, than the rest of his British contemporaries. The Kinks' next album, The Kink Kontroversy, demonstrated the progression in Davies ' songwriting. "Sunny Afternoon" was one of Davies ' wry social satires and the song was the biggest hit of the summer of 1966 in the U.K., reaching number one. "Sunny Afternoon" was a teaser for the band's great leap forward, Face to Face, a record that featured a vast array of musical styles. In May of 1967, they returned with "Waterloo Sunset," a ballad that reached number two in the U.K. in the spring of 1967. Released in the fall of 1967, Something Else by the Kinks continued the progressions of Face to Face. Despite the Kinks' musical growth, their chart performance was beginning to stagnate. Following the lackluster performance of Something Else, the Kinks rushed out a new single, "Autumn Almanac," which became another big U.K.

hit for the band. Released in the spring of 1968, the Kinks' "Wonderboy" was the band's first single not to crack the Top Ten since "You Really Got Me." They recovered somewhat with "Days," but the band's commercial decline was evident by the lack of success of their next LP. Released in the fall of 1968, The Village Green Preservation Society was the culmination of Ray Davies ' increasingly nostalgic tendencies. While the album was unsuccessful, it was well received by critics, particularly in the U.S. Peter Quaife soon grew tired of the band's lack of success, and he left the band by the end of the year, being replaced by John Dalton. In early 1969, the American ban upon the Kinks was lifted, leaving the band free to tour the U.S. for the first time in four years. Before they began the tour, the Kinks released Arthur (or the Decline and Fall of the British Empire). Like its two predecessors, Arthur contained distinctly British lyrical and musical themes, but it was a modest success. As they were recording the follow-up to Arthur, the Kinks expanded their lineup to include keyboardist John Gosling.

The first appearance of Gosling on a Kinks record was "Lola." Featuring a harder rock foundation than their last few singles, "Lola" was a Top Ten hit in both the U.K. and the U.S. Released in the fall of 1970, Lola vs. the Powerman and the Money-Go-Round, Part One was their most successful record since the mid-'60s in both the U.S. and U.K., helping the band become concert favorites in the U.S. The band's contract with Pye/Reprise expired in early 1971, leaving the Kinks free to pursue a new record contract. By the end of 1971, the Kinks had secured a five-album deal with RCA Records, which brought them a million dollar advance. Released in late 1971, Muswell Hillbillies, the group's first album for RCA, marked a return to the nostalgia of the Kinks' late-'60s albums, only with more pronounced country and music hall influences. The album failed to be the commercial blockbuster RCA had hoped for.

A few months after the release of Muswell Hillbillies, Reprise released a double-album compilation called The Kink Kronikles, which outsold their RCA debut. Everybody's in Showbiz (1973), a double-record set consisting of one album of studio tracks and another of live material, was a disappointment in the U.K., although the album was more successful in the U.S. In 1973, Ray Davies composed a full-blown rock opera called Preservation. When the first installment of the opera finally appeared in late 1973, it was harshly criticized and given a cold reception from the public. Act 2 appeared in the summer of 1974; the sequel received worse treatment than its predecessor. Davies began another musical, Starmaker, for the BBC; the project eventually metamorphosed into Soap Opera, which was released in the spring of 1975. Despite poor reviews, Soap Opera was a more commercially successful record than its predecessor. In 1976, the Kinks recorded Davies ' third straight rock opera, Schoolboys in Disgrace, which rocked harder than any album they released on RCA.

During 1976, the Kinks left RCA and signed with Arista Records. On Arista, the band refashioned themselves as a hard rock band. Bassist John Dalton left the group near the completion of their debut Arista album; he was replaced by Andy Pyle. Sleepwalker, the Kinks' first album for Arista, became a major hit in the U.S. As the band was completing the follow-up to Sleepwalker, Pyle left the group and was replaced by the returning Dalton. Misfits, the band's second Arista album, was also a U.S. success. After a British tour, Dalton left the band again, along with keyboardist John Gosling; bassist Jim Rodford and keyboardist Gordon Edwards filled the vacancies. Soon, the band was playing arenas in the United States. Even though punk rockers like the Jam and the Pretenders were covering Kinks songs in the late '70s, the group was becoming more blatantly commercial with each release, culminating in the heavy rock of Low Budget (1979), which became the group's biggest American success, peaking at number 11.

The Kinks' next album, Give the People What They Want, appeared in late 1981; the record peaked at number 15 and went gold. For most of 1982, the band was on tour. In spring of 1983, "Come Dancing" became the group's biggest American hit since "Tired of Waiting for You," thanks to the video's repeated exposure on MTV; in the U.S., the song peaked at number six, in the U.K. it climbed to number 12. State of Confusion followed the release of "Come Dancing," and it was another success, peaking at number 12 in the U.S. For the remainder of 1983, Ray Davies worked on a film project, Return to Waterloo, which caused considerable tension between himself and his brother. Instead of breaking up, the Kinks merely reshuffled their lineup, but there was a major casualty: Mick Avory, the band's drummer for 20 years, was fired and replaced by Bob Henrit. As Ray finished post-production duties on Return to Waterloo, he wrote the next Kinks album, Word of Mouth.

Released in late 1984, the album was similar in tone to the last few Kinks records, but it was a commercial disappointment and began a period of decline for the band; they never released another record that cracked the Top 40. Word of Mouth was the last album they would record for Arista Records. In early 1986, the band signed with MCA Records in the U.S., London in the U.K. Think Visual, their first album for their new label, was released in late 1986. It was a mild success but there were no hit singles from the record. The following year, the Kinks released another live album, appropriately titled The Road, which spent a brief time on the charts. Two years later, the Kinks released their last studio record for MCA, UK Jive. During 1989, keyboardist Ian Gibbons left the band. The Kinks were inducted into the Rock & Roll Hall of Fame in 1990, but the induction did not help revive their career.

In 1991, a compilation of their MCA records, Lost & Found (1986-1989), appeared, signalling that their contract with the label had expired. Later in the year, the band signed with Columbia Records and released an EP called Did Ya, which didn't chart. The Kinks' first album for Columbia, Phobia, arrived in 1993 to fair reviews but poor sales. By this time, only Ray and Dave Davies remained from the original lineup. In 1994, the band was dropped from Columbia Records, leaving the group to release the live To the Bone on an independent label in the U.K.; the band was left without a record label in the U.S. Despite a lack of commercial success, the band's public profile began to rise in 1995, as the group was hailed as an influence on several of the most popular British bands of the decade, including Blur and Oasis . Ray Davies was soon on popular television shows again, acting as these band's godfather and promoting his autobiography, X-Ray, which was published in early 1995 in the U.K.

Dave Davies ' autobiography, Kink, was published in the spring of 1996. ~ Stephen Thomas Erlewine, Rovi Read More Show less

Question: Waterloo Sunset was a 1967 hit for which band?
Answer: The Kinks